ameircan_monuments02

Tetsuya Kusu

Tetsuya Kusu is a Japanese photographer, currently based in Japan. Formerly a commercial underwater photographer, he is now working solely on personal projects. His first major project is American Monuments, produced as he was drifting through America while working through a difficult personal issue. He has published a photobook of the same name and is currently exhibiting at Zen Foto Gallery in Roppongi, Tokyo, as an emerging photographer to watch out for. The exhibition will run until 25th June 2016

From the series ‘American Monuments’

We’ve spoken briefly about American Monuments, your personal project after a difficult period in your life. What were the circumstances that led to the project and why is America significant in this work?

現実問題私は自分の作品を撮りにいきたかったのです。それは、辛い過去を乗り越えるための行動であると同時に、自分自身への挑戦でした。

アメリカが舞台であったのは、偶然に元妻と放浪した場所であったからであり、他のどこであっても同じように辛い日々を過ごした場所へと再び行っていたでしょう。そこでは言い訳できる状況ではな無くなった私、つまり、言い方は悪いですが元妻という足かせが無くなった自分がどのぐらいの仕事が出来るかを真に試される場所でした。

In reality, I wanted to go to America to do my photography as a way to get over my painful past and at the same time, to challenge myself. America was the ‘stage’ (or scene) because it was the place where my ex-wife and I drifted about. I had to return once more to the place where I spent those trying days. In other words, if I have to express it in an unkind way, it is the place where I can truly attempt to see how much of my work is free from my ex-wife’s influence.

You’ve called yourself a drifter. How were you living when you were doing this project?

それまでの蓄えと、旅の道中で見つけた季節労働で過ごしていました。季節労働の内容は秘密です(笑)

My savings came from seasonal jobs I found during my travels. The nature of those jobs is a secret!

From the series American Monuments
From the series American Monuments

The work reminds me of Stephen Shore’s American Surfaces, in terms of being on the road in America, the vividness of the colours and the snapshot style.

People say my work has a snapshot style, but even though I use a small digital camera, I work as if I was using an 8×10. I work very carefully by staging the shot, making sure about lighting, the flare of the flash and the composition. For example, the photo on the cover of the book. I asked him to put the blanket around himself and to stand at a certain place.

I am familiar with American photography and the road trip culture. But besides Robert Frank, I don’t think there are many foreigners who have done a photographic road trip seriously.

As a Japanese man and a foreigner, how has that affected the way you view and portray America with your photographs?

I feel like I’m on the inside and on the outside at the same time. In Japan too I feel this way, and it helps with my work. There is a closeness but also a distance.

From the series 'American Monuments'
From the series ‘American Monuments’

Do you think you could do the same road trip in Japan, and do a photography project? I think Daido Moriyama had gone on a road trip once before too. 

今後は日本でもロードトリップの手法を使った撮影を行う可能性はあります。移動は私にとって非常に重要な要素です。特にAmerican Monumentsでは、移動を繰り返すことによって被写体との偶然の出会いを作り出してきました。それには、歩くスピードではなく、車やバイクや、何かしらの移動手段によるスピードが必要でした。

Yes, there is a possibility for me to do the same road trip in Japan for my photography project. For me, movement or migration is an essential element to my work. In American Monuments in particular, in order to repeat movements, I created chance encounters with the subjects. Moreover, rather than the speed of walking, cars or motorcycles, the focus is on what kind of speed is required for the different means of movement.

ameircan_monuments08 ameircan_monuments07From the series ‘American Monuments’

Who are the people in the photographs?

Some are friends, some are strangers. I took a lot of photographs of people, some in business suits, some ordinary people. But when I was editing – I edited for a long time and I kept changing – I chose these people because I felt that they were the same as me.

What do you mean when you say that they are the same as you?

当時、全てを失った私はただの人でした。そんな私をなんの分け隔ても無く受け入れてくれる彼らは、資本主義社会からかけ離れたところに住んでいる、わたしと同じレイヤーに属している人々のように思い共感が持てました。

At that time I was the only person who had lost everything. I lived in a place that is removed from capitalist society and I was accepted by these people without prejudice. These folks shared similar layers as me and have a strong sense of empathy.

ameircan_monuments01 ameircan_monuments09From the series ‘American Monuments’

I read somewhere that you showed up at a festival in Krakow, Poland with your portfolio, and they gave you an exhibition at a fish and chips shop. How did you end up in Poland?

ポーランドを訪れたのは、イタリアに行く仕事のついでにウッチ(Lodz)で行われるポートフォリをレビューを受けに行ったからです。結局ポートフォリオレビューはセレクションに落選し、さらにクラクフはレビュー会場がある場所では無く、単に飛行機のチケットを取り間違えていたために訪れることになりました。ポートフォリオを持参していた私は、せっかく来たのだから何か結果を残さないと!と思い、インターネットと足を使って展示が出来る場所を探しました。結果展示先が見つかり、クラクフ現代美術館のキュレーターに作品を見せるなどのチャンスを得ることが出来ました。

The visit to Poland was an accident. I had gone to Italy for the review of my portfolio which took place in Lodz. Unfortunately, the portfolio selection was unsuccessful and due to a mistake in my flight ticket, I ended up in Krakow. Since my portfolio took me to Krakow, I thought I shouldn’t leave without something to show for it. I started looking for an exhibition space via the internet and by walking around the city. Consequently, I found an exhibition space and was also able to show my work to the curator of the Krakow Museum of Contemporary Art.

inandout1
From the series ‘In and Out’

You also have a series on Thailand called ‘In and Out’, which has a similar look and feel to American Monuments. When did you do that body of work?

タイを撮り始めたのはAmerican Monumentsを撮り終えた後です。私は6年ほどタイに住んでいた時期があり、第二の故郷のように思っています。コマーシャルフォトグラファーとして日本を拠点にし始めてからも、仕事で何度もタイに行っていました。コマーシャルの仕事を辞め、ホームレスの時代を経てAmerican Monumentsという真に自分と向き合った写真作品を製作し始めることで、いままで仕事でしか撮ったことの無い、そして良く知っているはずのタイという国が、今の私にとってのように見えるのかを写真に撮って確かめたいと思いました。

I started taking photos in Thailand after I completed the American Monuments project. I had lived in Thailand for six years and the place is like my second home. Even when I was a commercial photographer based in Japan, I travelled to Thailand for assignments many times. After I quit commercial photography, went through the homeless phase and did American Monuments, I wanted to look at the Thailand that I knew through the lens of the ‘current’ me.

From the 'In and Out' series
From the series ‘In and Out’

What are your impressions of Thailand that you are trying to portray, after having lived and worked there for 6 years as a dive instructor?

私の視点はホームレス時代に大きく変化しました。特に2013年はほとんど写真を撮ることも無く、しかし1日たりとも写真について考えることを辞めなかったという特殊な時間でした。以前のものの見方を一旦リセットできたことで私にとってのタイも大きく変化し、しかも年月により(ホームレス時代を含む4年間ほどタイに行くことが無かった)タイの経済状況も大きく変わったので、状況の変化に驚きました。

My point of view had changed drastically since my homeless phase. Especially in 2013, when I didn’t do any photography. But not a single day went by where I did not think about photography during that significant period. Since I had reset my outlook, my impression of Thailand had changed greatly too. And I didn’t go to Thailand for four years during my homeless phase. Thailand’s economic situation has transformed and I was surprised by the changes.

From the series 'Silent House'
From the ‘Silent House’ series

The series Silent House is a series on homes or buildings abandoned in a flood. They look desolate, and to anthropomorphise it, they look sad. Can you tell us about that? Where were the shots taken?

 Silent Houseはホームレス時代にグアテマラのアティトラン湖で撮った作品です。この湖は30年に一度、大雨などによる天災によって水位があがります。住んでいる人々はその事実を知っているにもかかわらず、ついつい湖畔のロケーションの良い場所に家を建ててしまい、水没の憂き目に遭います。おろかさや、コミカルな人間の性を興味深く感じて、自分自身にもそういうところが多いにあることに気づかされ、その沈んでいく家を執拗に撮り続けました

Silent House was the work I did during my homeless phase at Lake Atitlán in Guatemala. Once in 30 years, the lake’s water level will rise due to heavy rain. The local inhabitants are aware of the fact and yet they still build their cabins by the lakeside and face hardships when their homes are submerged. Whether it is idiocy or comical human nature, it was deeply intriguing for me. I have often been in such predicaments and I will continue taking photos of these sinking homes.

From the series 'American Monuments'
From the series ‘American Monuments’

How did you get into photography?

本格的な写真との出会いは水中写真です。当時私はダイビングの仕事をしており、水中写真という表現方法に出会いました。水中写真は私にとって自己顕示欲や自己承認欲求を満たすためのものでした。つまり、写真そのものが大事なわけではなく、その写真を使って人々に褒めてもらったり、他の人が撮る作品よりも人々のシェアを得ることが出来るイメージを撮ることで自分自身の欲求を満たすことが目的でした。それが、ホームレス時代を経て、精神がすごくフラットな状態で他人の目線などが全く気にならなくなった時、写真という媒体が純粋な自己表現の手段として立ち上がってきました。

My first encounter with full-scale photography was through underwater photography. I was working as a dive instructor and I got acquainted with the method of expression for underwater photography. For me, underwater photography is about fulfilling my desire for showing off my talent and to seek recognition. In other words, the photo itself, or being able to take that photo or to seek the user’s praise are not necessarily important. The photographer’s objective is to fulfil his own desires and to be able to share that image with others. During the homeless phase, when I experienced a ‘flat’ state of mind and no longer worry about other people’s points of view, the medium of photography as a means of pure self-expression really prevailed.

You are, or shall we say, were a commercial photographer. Why did you give up that side of photography to pursue personal projects?

 私は不器用なので、コマーシャルの仕事を始めてしまうとそちらのイメージに頭の中が引っ張られ、真に作品制作のために出てくるアイデアがスポイルされてしまう可能性があるからです。

I am clumsy, and when I started doing commercial photography, the images tended to stick in my brain. Indeed, there was a possibility that it would ruin the ideas that are needed to produce my personal work.

What are you working on now?

現在の妻に支えられながら日本に定住し、アーティストとしての活動を続けていくために日々いろいろな仕事をしています。

I am now settled in Japan. With the support of my current wife, I continue my work as an artist. I do various types of jobs from day to day.

http://tetsuya-kusu.com/

Translation by Mei Leong (meileong.com)

-end-

*this piece is a combination of two interviews, one in person at Kyotographie, the other by email.

 

facebookpinterestmail

Leave a Reply

Your email address will not be published. Required fields are marked *